They’re described as ‘motorik-punk outsiders’. Something about those three words grabbed me. Individually, they’re words I read several times a day in reference to bands being thrust in y direction for a critical appraisal. The world of music PR and criticism – not that many critics seem to be especially critical these days – is awash with cliché. And cliché begets cliché: no-one’s interested in inventing the next big thing: it’s far safer all round to recreate the last big thing in an infinite loop of regression. Punk never died, it just got diluted and turned into guitar-pop for teens too sappy to handle anything heavy. But when did the Krautrock revival begin? When The Fall emerged with their Can-influenced repetitious racket in the second half of the 70s, acts like PiL and Joy Division may have cited leading exponents Can and Kraftwerk as a touchstone, but few really embraced the now-ubiquitous ‘Apache beat’ innovated by Neu! And it is ubiquitous, and has been for some years now.

Still, few punk bands of any strain incorporate relentless, repetitive 4/4 rhythms in an overtly Krautrock way. Moderate Rebels, however, have really made this their signature (if you’ll pardon the pun). Not that they’re ‘punk’ in the sense it’s commonly perceived, nor in any of its contemporary revisions: Moderate Rebels have very much taken the spirit of The Fall as their template, and having set the template, they work the absolute fuck out of it over the course of the thirteen tracks on this, their debut album.

There’s certainly something Fall circa Bend Sinister or Frenz Experiment about the chugging ‘Extraordinary’ with its drawling, monotone an almost off-key multiple vocals, repetitious lyrics and endlessly looping chord sequence and beat. It should be as tedious as hell, but the longer it stretches out, the more it drags you in, and it’s a killer earworm. The only criticism is that it simply isn’t long enough. It’s a trick they repeat on a number of occasions, with guitars that jangle and scrape at skewed angles over strolling basslines and pulsing synths. And all the while, the rhythms hold steady, mid-tempo, stomping along with minimal fills. These aren’t songs that follow verse / chorus structures, evolve, build, or ‘go’ anywhere. The effect is simply cumulative. And that’s only amplified over the album’s duration: dipping in’s fine, but it’s best played as a whole, and better still, on repeat for a full afternoon, to achieve optimal enjoyment and appreciation.

Moderate Rebels are by no means one-trick ponies, though, and there is more to The Sound of Security than calculated monotony and the ploughing of sonic furrows that dig into the psyche by virtue of sheer tenacity.

There are pieces which work spacious atmospherics, with sputtering vintage drum machines bursting through elongated e-bow drones and rippling piano. Elsewhere, the laid-back and loose ‘Waiting for the Water to Clear’, and the slacker country of ‘I’m Feeling the Deep State’ showcase a more indie, Pavement-y vibe.

But mostly, it’s about plugging away, chugging and thumping. The reverb. The repetition. And the repetition. And not to forget the repetition. There is no such thing as too much of a good thing.